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Gaelic Names of Pibrochs a Concise Dictionary Edited by Roderick D

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Gaelic Names of Pibrochs a Concise Dictionary Edited by Roderick D February 2013 Gaelic names of Pibrochs A Concise Dictionary edited by Roderick D. Cannon Introduction Sources Text Bibliography February 2013 Introduction This is an alphabetical listing of the Gaelic names of pibrochs, taken from original sources. The great majority of sources are manuscript and printed collections of the tunes, in music notation appropriate for the bagpipe, that is, in staff notation or in canntaireachd. In addition, there are a few arranged for piano or fiddle, but only when the tunes correspond to known bagpipe versions. The main purpose of the work is to make available authentic versions of all authentic names, to explain apparent inconsistences and difficulties in translation, and to account for the forms of the names as we find them. The emphasis here is on the names, not the tunes as such. Many tunes have a variety of different names, but here the variants are only listed in the same entry when they are evidently related. Names which are semantically unrelated are placed in separate entries, even when linked by tradition such as Craig Ealachaidh and Cruinnneachdh nan Grandach. But in such cases they are linked by cross-references, and the traditions which explain the connection are mentioned in the discussions. Different names which merely sound similar are also cross-referenced, whether or not they apply to the same tune. Different names for the same tune, with no apparent connection, are not cross-referenced. Different tunes with the same name are given separate entries, though of course these appear consecutively in the list. In each entry the first name, in bold type, is presented in modern Gaelic spelling except that the acute accent is retained, e.g. mór not mòr. The number following the name is that of the current Piobaireachd Society Catalogue, available on www.piobaireachd.co.uk. An asterisk * before the name indicates that the Gaelic name is not in any of the sources, but is reconstructed from the other information given. Original names are taken from the heading above the music, retaining spelling, capitalisation, accents and punctuation. Where the same source gives more than one name, i.e. Gaelic and English, they are separated by a solidus (/). Gaelic names are given before English, but this does not necessarily reflect the order in the original. Linking punctuation, or words such as “or” or “alias”, are usually omitted. In some cases it is evident that the names were entered on different occasions, or by different hands, but this is not usually mentioned here. Names which were evidently added much later are ignored. An ellipsis (…) stands for something which could not be read in the original, or else for words which are legible, but are omitted here, the omission being explained in the discussion section of the entry. A tilde (~) stands for the whole of the remainder of a name, when only a part of it is being referred to: in other words an expression like ‘An ~ K3 index’ means that in the index of K3 the name is the same as the one just quoted, except for the addition of An at the beginning. Square brackets [ ] enclose material which is considered to have omitted accidentally and is restored here. The insertion [sic] marks an apparent error, to confirm that it is present in the original. Sources are identified by the codes listed below. When two codes occur together, like ‘K1 and KK’, this means that the name or names are given identically in both. February 2013 When a music source has an index in addition to the names written above the pieces, this is only cited in cases where the index is believed to have been compiled by the original writer, and where there is some difference. Thus ‘K3 index’ as a source after a name means that the name in question is taken from the index and not from the body of K3. The translation is meant to represent as clearly as possible the meaning of the main entry. Exceptionally, a modern ‘conventional name’ is given, in which case a more literal translation of the main entry is offered as well. In the discussion of each name, the first points dealt with are details of spelling, including evident printing and clerical errors, and where possible, explanations of how these came about. Then come points of grammar and vocabulary. The term ‘vernacular’, sometimes applied in this section, has no derogatory overtones, but rather the reverse as the aim of the discussion is to ascertain as far as possible what the actual usage was among pipers at the time of writing. I make no apology for going into such small details. They are all points which were puzzling to me until I had them explained by experts. My approach is that of a Gaelic learner who wishes to extract all the information that a name provides, and no more. As already stated, the emphasis here is on names, not tunes. People and places are identified where possible, but only briefly and when not obvious. Traditions are not recounted at length but references may be given to published versions, especially when there has been a recent scholarly discussion. Composers’ names and dates are given only in cases where these are specified in the source and where it seems likely that they are firmly based on the writer’s personal knowledge. In practice this means that very few dates are given earlier than 1790. This project has been on the go for many years and I want to thank all the friends who have made it possible. For help with material and information I thank the staffs of the National Library of Scotland; also the College of Piping and the National Piping Centre, Richard Powell who was always generous with access to his superb private collection, and Keith Sanger for advance information from his own studies. My helpers with Gaelic have included Ronnie Black, Iain Fraser, Allan MacDonald, John MacInnes, Nan MacQueen, the late Rev. William Matheson, Colm Ó Baoill and Margaret Stewart. Even so, there will still be plenty of errors, all mine. This version will be replaced with revised versions from time to time, and I will be most grateful to anyone who will point out errors and omissions. I can be reached directly at the addresses below. Roderick D. Cannon January 2009, revised February 2013 345 Unthank Road Norwich NR4 7QG [email protected] February 2013 SOURCES A MacArthur-MacGregor manuscript (1820). NLS MS 1679. For critical edition and facsimile see F. Buisman et al., (2001). Only titles which seem to be in the original handwriting are listed here. AC Campbell, Alexander [1815]. Manuscript diary, entitled A slight sketch of a journey made through parts of the Highlands and Hebrides; undertaken to collect materials for Albyn's Anthology. Edinburgh University Library MS La. 51. C1 Campbell Canntaireachd Manuscript, vol 1 (1797) NLS MS 3714. For a facsimile, see www.piobaireachd.co.uk C2 Campbell Canntaireachd Manuscript, vol 2. NLS MS 3715. Written on paper watermarked 1814 but considered to be derived from a previous version. For a facsimile, see www.piobaireachd.co.uk C3 Campbell Canntaireachd. A copy, included in SC, by Angus MacKay, of four of the tunes which occur in C2. Actually considered to have been copied from an earlier version of C2. See F. Buisman (1987), and R.D. Cannon (200X). D0 MacDonald, Donald [1820]. A collection of the ancient martial music of Caledonia, called piobaireachd... D. MacDonald, Edinburgh. 3rd edition, improved, Alex. Robertson, Edinburgh [1822]. For critical edition see R. D. Cannon and K. Sanger (2006). For a facsimile of the oldest edition, see www.piobaireachd.co.uk D1 MacDonald, Donald (1826). Manuscript. NLS MS 1680. In the body of the MS the tunes seem to have been untitled at first. Titles here are taken from the printed History of the Airs... which is bound into the volume. For critical edition see R. D. Cannon and K. Sanger (2011).For a facsimile, see www.piobaireachd.co.uk February 2013 DJ MacDonald, Donald, junior, son of the above (1826). Manuscript. The MS is lost, but careful copies of the tunes are in the Kilberry Papers, NLS MSS 22098-22117. For facsimiles of these copies, see www.piobaireachd.co.uk DOW Dow, Daniel [c .1783] A collection of ancient Scots music for the violin, harpsichord or German flute ... consisting of ports, salutations, marches or pibrachs, etc. Edinburgh. ER Lady D’Oyly manuscript. Original Highland airs collected at Raasay in 1812 by Elizabeth Jane Ross. Edinburgh University, School of Scottish Studies Library, MS 3. For transcriptions of piobaireachd, see P. R. Cooke (1985-6). F MacFarlane MS, vol 3 [c. 1740]. NLS MS 2085. G MacLeod, Niel, of Gesto (1828). A collection of pibaireachd or pipe tunes, as verbally taught by the McCrummen pipers in the Isle of Skye, to their apprentices. Printed by Lawrie & Co., Edinburgh. For a facsimile, see www.piobaireachd.co.uk Gesto Notes. See Bibliography. H Hannay-MacAuslan Manuscript (c.1811). NLS Acc. 11600, formerly Dep. 201. For a facsimile, see www.piobaireachd.co.uk. For an account, see F. Buisman (1985–6). J MacDonald, Joseph [1760]. A compleat theory of the Scots Highland bagpipe...Edinburgh University MS La. III. 804. For a modern edition and facsimile see R. D. Cannon (1994). February 2013 JK MacKay, John [c. 1840]. Manuscript of piobaireachd. National Library of Scotland, Acc 9231. The manuscript has been greatly defaced and titles which were originally written in pencil have been erased and overwritten in ink. Only those early ones which can still be read are included here with reference JK, but see also next entry.
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